![]() Top panel jack sockets handle the Mic, Line, Direct Channel Out and Inserts, while the rear panel provides the Input B Tape Return jacks. A small thing, but very helpful nevertheless. The Main channels are clearly numbered 1-24 while the Mix B sections are numbered 25-48. As usual, there is almost no visual distinction between a routing button that's up and one that's down, so you spend the first few minutes of every session with your head on one side sighting down the mixer to check the routing. ![]() Long-throw, 100mm, carbon faders control the channel signal level with the routing buttons spaced down the right-hand side of the fader. Both the Mute and Solo buttons have warning LEDs, but since these are located to the extreme right of the channel strip, I found myself mentally associating them with the buttons in the next channel along - very confusing. The rest of the channel is pretty conventional with a standard Pan and routing button system for directing the channel signal to either the stereo buss or to the groups. Both the Main channel and Mix B paths are fitted with Mute buttons, though only the main channel has a Solo facility. ![]() A switch in the master section disconnects the Mix B outputs from the stereo buss, allowing the signal to be taken to the outside world via the Mix B output jacks. This enables them to function instead as additional, EQ'able effects sends. ![]() Even so, you get four physical aux send controls, which are routable to six aux send busses, and the second pair of sends may be switched into either the Main or Mix B channel paths.Īn input Flip switch means that the Main and Mix B inputs may be swapped without the need to repatch, and an additional neat twist is that if you don't need the Mix B channels to provide additional inputs at mixdown, you can switch them to accept a post-fade feed from the Main channel. Still, you do have to share the aux sends between the Main and Mix B channel paths which is, I feel, one of the major limitations of the in-line concept in general. Unlike the Mackie 8-Buss console, which has one fully parametric EQ section, Behringer has taken the more conventional route of providing a 4-band EQ with sweep mids, but they've also fitted a basic 2-band EQ to the Mix B channel path, so you don't have the hassle of splitting the EQ when you undertake a complex mix. Mix B is normally connected to the corresponding multitrack output for monitoring while track-laying, but at mixdown it may be used as an additional line input for sequenced instruments and such-like. The Eurodesk channel has three input sources: Mic, Line, and Mix B - the latter referring to the secondary channel path, sometimes called the Monitor channel on other desks. ![]()
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